The Distressed Poet.

A Suggestion From Hogarth.


One knows the scene so well,--a touch,
A word, brings back again
That room, not garnished overmuch,
In gusty Drury Lane;

The empty safe, the child that cries,
The kittens on the coat,
The good-wife with her patient eyes,
The milkmaid's tuneless throat;

And last, in that mute woe sublime,
The luckless verseman's air:
The "Bysshe," the foolscap and the rhyme,--
The Rhyme ... that is not there!

Poor Bard! to dream the verse inspired--
With dews Castalian wet--
Is built from cold abstractions squired
By "Bysshe," his epithet!

Ah! when she comes, the glad-eyed Muse,
No step upon the stair
Betrays the guest that none refuse,--
She takes us unaware;

And tips with fire our lyric lips,
And sets our hearts a-flame,
And then, like Ariel, off she trips,
And none know how she came.

Only, henceforth, for right or wrong,
By some dull sense grown keen,
Some blank hour blossomed into song,
We feel that she has been.

Henry Austin Dobson

Henry Austin Dobson, commonly known as Austin Dobson, was an English poet and essayist. A civil servant by profession, Dobson was one of the most renowned poets and literary critics of the late Victorian and Edwardian periods. His work is noted for its delicate craftsmanship and profound interest in 18th-century literature. Dobson's poetry often revisited and celebrated historical themes and characters, blending scholarly interest with lyrical form.

Henry Austin Dobson

The Poet's Seat. An Idyll Of The Suburbs.

Henry Austin Dobson, Simple Poetry

The Screen In The Lumber Room.

Henry Austin Dobson, Simple Poetry

A Madrigal.

Henry Austin Dobson, Simple Poetry

Household Art.

Henry Austin Dobson, Simple Poetry

English

Suggested Poems

Explore a curated selection of verses that share themes, styles, and emotional resonance with the poem you've just read.

The Poet And The Critics.

If those who wield the Rod forget,
'Tis truly--Quis custodiet?


A certain Bard (as Bards will do)
Dressed up his Poems for Review.
His Type was plain, his Title clear;
His Frontispiece by FOURDRINIER.
Moreover, he had on the Back
A sort of sheepskin Zodiac;--
A Mask, a Harp, an Owl,--in fine,
A neat and "classical" Design.
But the in-Side?--Well, good or bad,
The Inside was the best he had:
Much Memory,--more Imitation;--
Some Accidents of Inspiration;--
Some Essays in that finer Fashion
Where Fancy takes the place of Passion;--
And some (of course) more roughly wrought
To catch the Advocates of Thought.

In the less-crowded Age of ANNE,
Our Bard had been a favoured Man;
Fortune, more chary with the Sickle,
Had ranked h...

Henry Austin Dobson

The Claims Of The Muse.

Too oft we hide our Frailties' Blame
Beneath some simple-sounding Name!
So Folks, who in gilt Coaches ride,
Will call Display but Proper Pride;
So Spendthrifts, who their Acres lose,
Curse not their Folly but the Jews;
So Madam, when her Roses faint,
Resorts to ... anything but Paint.

An honest Uncle, who had plied
His Trade of Mercer in Cheapside,
Until his Name on 'Change was found
Good for some Thirty Thousand Pound,
Was burdened with an Heir inclined
To thoughts of quite a different Kind.
His Nephew dreamed of Naught but Verse
From Morn to Night, and, what was worse,
He quitted all at length to follow
That "sneaking, whey-faced God, APOLLO."
In plainer Words, he ran up Bills
At Child's, at Batson's and at Will's;
Discussed the Cla...

Henry Austin Dobson

A Familiar Epistle

To * * Esq. of * * with a Life of the late Ingenious Mr. W M. Hogarth.


Dear Cosmopolitan,--I know
I should address you a Rondeau,
Or else announce what I've to say
At least en Ballade fratrisée;
But No: for once I leave Gymnasticks,
And take to simple Hudibrasticks;
Why should I choose another Way,
When this was good enough for GAY?

You love, my FRIEND, with me, I think,
That Age of Lustre and of Link;
Of Chelsea China and long "s"es,
Of Bag-wigs and of flowered Dresses;
That Age of Folly and of Cards,
Of Hackney Chairs and Hackney Bards;
--No H--LTS, no K--G--N P--LS were then
Dispensing Competence to Men;
The gentle Trade was left to Churls,
Your frowsy TONSONS and your CURLLS;
Mere Wolves in Ambush to attack
The AUTHOR ...

Henry Austin Dobson

Incognita.

Just for a space that I met her--
Just for a day in the train!
It began when she feared it would wet her,
That tiniest spurtle of rain:
So we tucked a great rug in the sashes,
And carefully padded the pane;
And I sorrow in sackcloth and ashes,
Longing to do it again!

Then it grew when she begged me to reach her
A dressing-case under the seat;
She was "really so tiny a creature,
That she needed a stool for her feet!"
Which was promptly arranged to her order
With a care that was even minute,
And a glimpse--of an open-work border,
And a glance--of the fairyest boot.

Then it drooped, and revived at some hovels--
"Were they houses for men or for pigs?"
Then it shifted to muscular novels,
With a little digression on prigs:
She thought...

Henry Austin Dobson

Lines To A Stupid Picture.

"--the music of the moon
Sleeps in the plain eggs of the nightingale."
Aylmer's Field.


Five geese,--a landscape damp and wild,--
A stunted, not too pretty, child,
Beneath a battered gingham;
Such things, to say the least, require
A Muse of more-than-average Fire
Effectively to sing 'em.

And yet--Why should they? Souls of mark
Have sprung from such;--e'en Joan of Arc
Had scarce a grander duty;
Not always ('tis a maxim trite)
From righteous sources comes the right,--
From beautiful, the beauty.

Who shall decide where seed is sown?
Maybe some priceless germ was blown
To this unwholesome marish;
(And what must grow will still increase,
Though cackled round by half the geese
And ganders in the parish.)

Maybe th...

Henry Austin Dobson

Chopin.

    I.


A    dream of interlinking hands, of feet
Tireless to spin the unseen, fairy woof,
Of the entangling waltz.    Bright eyebeams meet,
Gay laughter echoes from the vaulted roof.
Warm perfumes rise; the soft unflickering glow
Of branching lights sets off the changeful charms
Of glancing gems, rich stuffs, dazzling snow
Of necks unkerchieft, and bare, clinging arms.
Hark to the music!    How beneath the strain
Of reckless revelry, vibrates and sobs
One fundamental chord of constant pain,
The pulse-beat of the poet's heart that throbs.
So yearns, though all the dancing waves rejoice,
The troubled sea's disconsolate, deep voice.



    II.


Who shall proclaim the golden fable false
Of Orpheus' miracles?    This subtl...

Emma Lazarus